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James Blake announces 2026 Australian tour dates

June 23, 2026

THE NATIONAL INDIGENOUS MUSIC AWARDS (NIMAs) ANNOUNCE STELLAR 2026 LIVE PERFORMANCE LINEUP

June 23, 2026

Mandy McMillan’s “LTMFG” Music Video Pain Into Power in Bold Self-Love Statement

June 23, 2026

AMØK Mallorca announces 2026 summer programme

June 22, 2026

Pegassi Announces Debut Headline Australian Tour

June 22, 2026

Interview: Matterform – Inside Four Years of Growth, Improvisation and Finding Their...

June 21, 2026

Interview: Tig Turns Her Inner Critic Into a Character on “Alice Says”

June 19, 2026

Interview: Julian Hunt – Embracing Queer Joy, Self-Discovery, and Living in the...

June 19, 2026

Interview: Nathan Cavaleri on Turning Life’s Biggest Challenges Into Growing Pains

June 19, 2026

Gia Darcy shares music video for new single ‘What’s To Blame?’ ft....

June 18, 2026
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Music News

Music News

Matterform is releasing their debut eponymous record on June 19th, 2026, blending cosmic psychedelia with funk and jazz

by the partae June 11, 2026
written by the partae

Ventura-based collective Matterform are stepping into their next chapter with the announcement of their self-titled debut album, arriving July 19, 2026 via Lost Beat 6. Built on four years of live performance across the Ventura and Santa Barbara circuit, the record captures a band deeply rooted in groove, improvisation, and cinematic atmosphere.

Formed around a shared love of expansive instrumental music, Matterform channel acid jazz, funk, psychedelia, and lo-fi fusion into a sound that feels both exploratory and grounded. The result is a record designed for listeners chasing new instrumental discoveries—music that leans into mood, texture, and movement rather than convention.

Across the album, the band lean into what they describe as “cosmically adventurous and irresistible grooves,” a sentiment that threads through the project’s two early singles. The Miles Davis-inspired “Oxnardis” drifts with a laid-back sophistication, while “Toaster” brings a more urgent, charged energy, showcasing the band’s range between meditative flow and rhythmic propulsion.

Early praise for “Oxnardis” highlights its immersive quality, with Honk Magazine noting its “deep grooves, heavenly improvisation, and nighttime jazz harmonies,” describing it as both intimate and expansive—“like walking into a room with soft lighting where every sound is bright, pulsing, and ready to blow your mind.” Other responses point to its cinematic, floating quality and refined jazz sensibility, with Rádio Armazém calling it “cinematic and introspective.”

The band’s lineup reflects a multi-instrumental approach to arrangement and texture: Javier Avila (keys), Chet Toner (guitar/sax), Drew Espejo (drums), Zach Manpearl (bass/keys), and Tony Pelosi (guitar/art). Pelosi also contributes the visual identity of the release, with vinyl editions in preparation featuring his artwork—further extending Matterform’s emphasis on cohesive, immersive world-building.

Recorded in January 2025 and produced by Kentucky Clawson alongside Stephen Coler, the album sits comfortably alongside artists such as Khruangbin, Glass Beams, BADBADNOTGOOD, Tommy Guerrero, and Oma—acts known for blending jazz, funk, and global textures into contemporary instrumental language.

Across seven tracks—“Awakening,” “Oxnardis,” “Duster,” “Toaster,” “Paper,” “Weight,” and “Morpheus”—Matterform build a journey that moves through shifting moods and sonic landscapes. It’s an album that prioritises feeling over formality, designed as much for deep listening as it is for late-night immersion.

With their debut LP, Matterform position themselves as part of a growing wave of instrumental groups redefining modern jazz-adjacent music—less concerned with genre boundaries and more focused on atmosphere, rhythm, and the shared experience of sound.

PRESAVE

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June 11, 2026 0 comments
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Music News

Julian Hunt Celebrates Pride With Joyful New Single ‘Our Plans Can Wait’

by the partae June 11, 2026
written by the partae

VANCOUVER, BC – Emerging indie-pop artist Julian Hunt is embracing optimism, self-expression, and queer joy with the release of his latest single, “Our Plans Can Wait,” arriving June 12 as part of Pride Month celebrations. The upbeat synth-pop anthem also serves as the first glimpse into his forthcoming EP, 23, with two additional singles set to follow throughout the summer.

Following the momentum of previous releases “Sharks in the Pool,” “Marine Drive,” and “Dance Into The Dark,” Hunt continues to build a reputation as one of Vancouver’s promising new independent voices. His earlier singles earned radio support, playlist placements, and coverage from music publications and community media outlets.

Opening with the memorable line, “I don’t want to rule the world, I just want you to dance with me,” the new track captures the excitement of possibility—new beginnings, spontaneous nights out, chance encounters, and embracing life’s unexpected moments.

For Hunt, the song represents a personal milestone.

“After a year that brought me so much change, I wrote this as a celebration of queer joy and being your truest self, which is why I’m releasing it during Pride,” he explains. “This song brings me so much joy to listen to and reminds me of a very optimistic time of my life.”

Recorded at Boutique Empire Studios in East Vancouver with producer Mark Henning, known for his work with 90s Canadian band Pure, the track showcases Hunt’s growing confidence as both a songwriter and creative collaborator. He took a larger role in shaping the production, blending piano-driven songwriting with shimmering synth textures and layered vocals to create a sound that balances nostalgic 1980s influences with contemporary pop sensibilities.

Originally from Toronto, Hunt studied music theatre at the Etobicoke School of the Arts before pursuing creative writing at Concordia University. After relocating to Vancouver, he began teaching himself piano and developing his songwriting craft, drawing inspiration from queer artists, musical theatre, and the pop music that defined his youth.

Since launching his recording career in 2025, Hunt has steadily expanded his audience. His debut single “Sharks in the Pool” received airplay on CBC Radio One Vancouver and other outlets, while “Marine Drive” earned coverage across Canadian and international music platforms.

With “Our Plans Can Wait,” Hunt delivers a vibrant soundtrack for Pride season—one that celebrates authenticity, connection, and living in the moment. As anticipation builds for his upcoming EP 23, the single signals an artist finding his voice and inviting listeners to join him on the journey.

TIKTOK

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June 11, 2026 0 comments
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Music News

Wayside Sign to Grammy Winning Producer Will Yip’s Memory Music, Release Invisible Strings and Prepare for Download Festival UK

by the partae June 11, 2026
written by the partae

Praise for Wayside

“Hazy, dizzying heavy sound” – Alt Press

“stays with you and stings in a great way” – Anika Luna, triple j

“Equal parts atmosphere and anthemic” – Brooklyn Vegan

“Big big stuff from Wayside. There’s a huge wall of sound to the track but those phantasm-like vocals make it float above the ramparts.” – Dave Ruby Howe, triple j 

“what’s in these songs is movement. A feeling of free-floating. A dizzying sensation constructed with elastic riffs and airy vocals.” – FLOOD Magazine

Melbourne-based trio Wayside are proud to announce their signing to iconic independent US record label Memory Music. Founded in 2015 by Grammy-winning producer Will Yip, who worked on Wayside’s 2023 record What Does Your Soul Look Like, Memory Music is home to a vibrant community of artists including Balance and Composure, Webbed Wing, Tigers Jaw and more.

Reflecting on the latest addition to the Memory Music stable, Will Yip says “Wayside are exactly the kind of band Memory Music was built for. There’s a real honesty and weight to what they do, but also this huge sense of melody and atmosphere that makes it feel completely their own. When we worked on ‘Invisible Strings,’ it felt like the start of a really important new chapter for them. I’m proud to welcome them into the Memory Music family and help bring this next era to life.”

“Joining Memory Music is a dream come true for us,” says vocalist Thomas Davenport. “It feels like our music finally has the right home…it feels like family.”

Alongside the announcement, Wayside have released their first new music of 2026, ‘Invisible Strings’, a song Davenport says is about “the internal noise that doesn’t go quiet, the constant push and pull. It’s that tension and disconnect between wanting connection and not really feeling like you deserve it, or could hold onto it anyway.” Stream HERE and watch the music video HERE.

 

Recorded with Will Yip last year at his brand new Memory Music Studios in Philadelphia, ‘Invisible Strings’ is the band’s first song written as a trio following the addition of bassist Izzy De Leon (WAAX, Thelma Plum, Of Lion). Talking about the process, De Leon says “Everything about writing this track collaboratively as the three of us just felt right, and we’re so proud of the song and how Will brought it to life.” The recording sessions also found  Will unexpectedly jumping in on drums when the band was between drummers, a testament to their undeniable collaborative chemistry.

‘Invisible Strings’ is also the band’s first song written on a 7-string guitar, allowing for even more exploratory, dramatic contrasts in the sound. “We were really focused on trying to push the dynamics of light and shade and that change up of guitars really helped us get to where we wanted. Incorporating 7 strings has really opened up more possibilities with where we can take our sound,” says guitarist Josh Ehmer.

The signing and new single arrive just in time for Wayside’s debut performance at Download Festival in the UK this weekend, as well as a run of headline shows in Brighton, Huddersfield and London. In October, the trio will return to join Acres on their mammoth run of shows throughout Europe and the UK. For tickets and more information click HERE.

Formed in Melbourne but with an ever-growing following across the globe, Wayside have built a sound that blurs the lines between shoegaze, dream-pop, post-hardcore, and atmosphere. Drawing influence from bands like Deftones, Balance and Composure, Title Fight, and Citizen, they balance crushing heaviness with airy, emotionally-raw songwriting. Last year, Wayside released their collaboration with Canadian grunge duo Softcult, ‘Can You See It?’, adding to the band’s two-album catalogue of over 12million streams. On the live circuit, Wayside have toured internationally multiple times including the US, UK, and Europe, plus appeared at New Bloom Festival and supported the likes of President, Sleeping With Sirens, Movements, Boston Manor, and more.

Wayside UK Shows 

June 2026

11.06 – Brighton, Green Door Store (with Prom)

14.06 – Download Festival

16.06 – Huddersfield, Amped (with Mercury)

18.06 – London, 229 Venue 2 (with Sunnbrella & Deep Bleak)

 Acres EU/UK 2026 Tour

supported by Wayside

14.10 – Bristol, UK – The Exchange

15.10 – Leeds, UK – The Key Club

16.10 – Manchester, UK – Rebellion

17.10 – London, UK – Downstairs at The Dome

18.10 – Southampton, UK – The Joiners

20.10 – Antwerp, Belgium – Kavka

21.10 – Utrecht, Netherlands – De Helling

22.10 – Hamburg, Germany – Monkeys

23.10 – Berlin, Germany – Cassiopeia

24.10 – Leipzig, Germany – Naumanns

25.10 – Poznań, Poland – Pod Minogą

27.10 – Prague, Czech Republic – Bike Jesus

28.10 – Vienna, Austria – Viper Room

29.10 – Munich, Germany – Feierwerk

30.10 – Aarau, Switzerland – KIFF

31.10 – Cologne, Germany – Helios37

01.11 – Wiesbaden, Germany – Schlachthof

Tickets HERE

‘Invisible Strings’ 

out now

Connect with Wayside

Instagram |  TikTok | Facebook

June 11, 2026 0 comments
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Festival NewsMusic News

Show Me The Body share new single ‘Eat For Peace’ from forthcoming album Alone Together (July 10 via Loma Vista Recordings)

by the partae June 10, 2026
written by the partae

Photo: Wes Knoll

Following the announcement of their 4th studio album, Alone Together, arriving July 10th via Loma Vista Recordings, Show Me the Body announces their North American tour and shares the album’s third single, ‘Eat For Peace‘. LISTEN HERE + WATCH HERE + PRE-SAVE LP HERE.

“‘Eat For Peace’ is the first song on Alone Together. It’s the first message we communicate, one that defines this record as well as who we are “Radical love compels me to fight.” It’s the credo.” – Julian Cashwan Pratt.

Alone Together serves as the official follow-up to the band’s celebrated 2022 album Trouble The Water, and bears themes of praxis and putting belief into action. Alone Together is not about atmosphere, but about direct communication, a call to galvanize ourselves and the people around us. Working alongside producers Klas Åhlund (Robyn, Ghost) and Kenneth Blume III (Geese, Fcukers), Show Me The Body has recontextualised their core language into something with more focus, urgency, and clarity than ever before. Alone Together is not about atmosphere but about direct communication, a call to galvanize ourselves and the people around us.

Bones of Show Me The Body‘s fourth full-length album formed first in their Corpus studio, in the basement of the building that also serves as the New York City collective’s headquarters and the home in which frontman Julian Cashwan Pratt lives with his young family. Writing the album in the wake of the birth of his daughter. Alone Together brings the band’s ethos of resilience in the darkest moments into startling focus, making for the trailblazers’ most harrowing and joyous output to date.

Klas Åhlund, one of the album’s producers, came over from Sweden to visit Pratt and Steed in Queens and gave a blunt assessment of the band’s demos. “He caught me at me becoming an adult, so I didn’t tell him to fuck off.” And so, Pratt said, the band sat with Åhlund‘s one critical piece of advice: “There’s certain parts of our music that are distinctly Show Me The Body. And he was like, ‘those parts only your band could do? You should just do that all the time. All the parts that sound like everybody else, you should just do less.'” With this ringing in their minds, they soon decamped to the California studio of Kenneth Blume III, where the band and their new odd-couple producers took that core sound to unheard-of heights.

During the making of the album, Show Me the Body’s Julian Cashwan Pratt launched a series of conversations in which he speaks with “a few of my best friends, creative peers, and mentors about life, loss, family, community, art, and praxis.” The series is called “Alone Together” and was directed by Nicolas Heller (New York Nico). Episodes 1, 2, 3, & 4 with Dracula O. / Chi, Kasie Kirkland AKA Yung Mayne, Jaylen Strong, and Yo Chill are all available on the Show Me the Body YouTube page and Spotify.

This summer, the band will make the rounds in the UK and Europe, playing select festival dates and supporting Deafheaven on a run of shows before embarking on their North American tour in the fall.

Listen and watch to “Eat For Peace” above, and check out the full run of tour dates and hi-res assets below. Alone Together will be available via all digital platforms and physically on CD and Vinyl. Check out more physical merchandise, including the pressings of Alone Together on vinyl, their Krink marker collab, Alone Together and new coffin t-shirts, and upcoming tour dates at showmethebody.com. Stay tuned for more news from Show Me the Body.

SHOW ME THE BODY
Alone Together LP
JULY 10 via Loma Vista Recordings
PRE-SAVE HERE

‘Eat For Peace’ is out now, buy/stream it here.

TRACKLIST
Overture
Eat For Peace
No God
Good Time
Dance In The USA
Do What’s Right (Happy)
Interlude
See You Again
Mileage
New Line
Trust
Finale
Alone Together

Stay connected with Show Me The Body:
23 Profile | Website | Instagram | YouTube | X | Facebook

June 10, 2026 0 comments
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Music News

JACK WHITE ANNOUNCES SEVENTH STUDIO ALBUM FROZEN CHARLOTTE

by the partae June 10, 2026
written by the partae
Photo by David James Swanson
– LEAD SINGLE ‘DOLLAR BILL’ PREMIERES TODAY – FROZEN CHARLOTTE ARRIVES VIA THIRD MAN RECORDS ON FRIDAY JULY 10

Jack White has announced the release of his much-anticipated new album, Frozen Charlotte, arriving via Third Man Records on Friday, July 10. The album will be available on black vinyl; a limited-edition “Zug Island Blue” as the Third Man Records exclusive vinyl; a limited-edition “Chrome” for the Jack White tour and webstore; and a limited-edition “Ice Blue” for independent record stores. The album will also be available on CD and cassette. Pre-orders/pre-saves are available now. White’s seventh studio LP, Frozen Charlotte, is preceded by the lead single, ‘Dollar Bill‘, premiering TODAY at all DSPs and streaming services. LISTEN HERE + PRE-ORDER/PRE-SAVE LP HERE.

‘Dollar Bill‘ and consequently, Frozen Charlotte, were teased via the new Third Man Release Lab, a free, two-part, behind-the-scenes online series that explores Third Man Records’ creative approach to record releases and demystifies the album release process. Fans tuning into each Release Lab unknowingly witnessed glitching album imagery, allusions to the Frozen Charlatan character, and listened to a ‘Dollar Bill‘ audio clip for the first time.

White will introduce fans to Frozen Charlotte on a wide-ranging 2026 world headline tour. North American dates begin July 10 with a sold-out show at Washington, DC’s The Anthem and continue through a two-night stand at Atlanta, GA’s Coca-Cola Roxy on November 20-21. Highlights include two-night runs in a number of cities, including Brooklyn, Los Angeles, Chicago, Atlanta, Charlotte, and Miami Beach, along with top-billed festival performances at East Aurora, NY’s Borderland Festival (September 19) and Richmond, VA’s Iron Blossom Music Festival (September 20). Support at Toronto, ON’s RBC Amphitheatre on July 14 comes from Angine de Poitrine.

White and his longtime live band – Patrick Keeler (drums), Dominic Davis (bass), and Bobby Emmett (keys) – will also cross the Atlantic for a series of shows and headline festival appearances in Europe and the United Kingdom, including two-night stands at Paris, France’s sold-out L’Olympia (June 13-14), Brussels, Belgium’s sold-out Ancienne Belgique (June 16-17), London, UK’s Eventim Apollo (August 25-26), and Dublin, Ireland’s sold-out 3Olympia (September 1-2). In addition, White will travel to Asia for eagerly anticipated dates in Seoul, Shanghai, Istanbul, Turkey, at Babylon Soundgarden (August 23), and Almaty, Kazakhstan. For complete details and remaining ticket information, please visit jackwhiteiii.com/tour-dates.

Frozen Charlotte follows the premiere earlier this year of two fiery new songs, ‘Derecho Demonico‘ and ‘G.O.D. and the Broken Ribs‘, available now at all DSPs and streaming services. White and his band marked the release with electrifying performances of both songs during a landmark sixth career appearance on NBC’s Saturday Night Live.

Produced by White, ‘G.O.D. and the Broken Ribs‘ and ‘Derecho Demonico‘ represent White’s first new music since 2024, a year highlighted by the release of the Rock & Roll Hall of Fame inductee’s critically lauded sixth studio album, No Name. The acclaimed collection was honoured with a 2025 GRAMMY® Award nomination for “Best Rock Album” – White’s 34th solo-career nomination and 46th overall, along with 16 total GRAMMY® Award wins. No Name includes the consecutive #1 U.S. radio hit singles, ‘That’s How I’m Feeling‘ and ‘Archbishop Harold Holmes‘, the latter of which is joined by an electrically charged official music video starring legendary actor and renaissance man John C. Reilly as the ecstatic, impassioned titular character, now boasting over 3.5M worldwide views via YouTube alone.

October 2025 saw the official publication of Jack White Collected Lyrics and Selected Writing Volume 1, available now at thirdmanbooks.com, Third Man physical storefronts, and booksellers in the United States and the United Kingdom. Edited by Third Man Records co-founder Ben Blackwell, the landmark new anthology features never-before-published poems and writings by White, rare and exclusive photos, and new essays written especially for this book by Blackwell, award-winning, Pulitzer Prize and National Book Award-nominated poet Adrian Matejka, and award-winning, Detroit-based filmmaker and writer dream hampton. The collection also compiles lyrics from both White’s solo recordings thus far, as well as his acclaimed work with The Raconteurs, The Dead Weather, and other collaborations. White discussed Jack White Collected Lyrics and Selected Writing Volume 1 during an extended interview on CBS’s The Late Show with Stephen Colbert, highlighted by a recitation of his original poem, ‘Just Suppose to Juxtapose‘. White also appeared on Colbert’s surprise public access broadcast, Only In Monroe, which premiered the day after his final CBS episode.

JACK WHITE
Frozen Charlotte LP
July 10 via Third Man Records
PRE-ORDER / PRE-SAVE HERE

‘Dollar Bill‘ is out now, buy/stream it here.

Stay connected with Jack White:
23 Profile | Website | Facebook | TikTok | Instagram | Youtube | Third Man Books | Third Man Records

June 10, 2026 0 comments
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Music InterviewsMusic News

Interview: Inside Perry Project’s ‘Animals That Trusted You’ Trust, Power and Perspective

by the partae June 9, 2026
written by the partae

The title “Animals That Trusted You” is loaded. What does it mean to you on a personal level?

So, the title “Animals That Trusted You” in one sense I am referring to human beings as animals. I believe there are an overwhelming majority of human beings that are super well-intentioned or I believe that the overwhelming majority of human beings are extremely goodhearted and they are trusting, they’re good natured and they truly believe in their heart when they are being told well intended things by other people that they perceived to be in power. Sometimes these people in power are simply taking advantage of these kind-hearted individuals these kind-hearted individuals trusted these people in power, saw them as leaders and follow them essentially to sometimes their own demise and I feel that we are seeing this happening definitely now and we’ve seen this happen in the past and unfortunately it will probably keep happening in the future and I just think that it is really a terrible thing for people in power to do. They know what they’re doing to mislead somebody that is well intended and really good-hearted and to steer them in not the best direction and a lot of times these individuals or those people with power doing this to the kindhearted trusting person are only doing this for their own benefit, and I find that quite disturbing.

On the other hand, the title “Animals That Trusted You” came about when thinking about the animals in the world that are being misled by humans that don’t always have the best intentions but animals for some reason still trust these people, so I think that’s the most literal with the phrase “animals that trusted you.” It’s essentially animals that have a very strong trust in other human beings. They trust the human beings to lead them around and they will follow a human being off a cliff if that’s what the human being is telling them to do.

I also think that if you know that you hold that much influential power, then what you do with that power really tells others who you are as a person. Just because you hold that kind of power you really need to take it seriously and take the responsibility seriously and I wish there were more people that would do that. What I mean by this is if you feel like you hold this type of power over others you would think you would want to do kind and loving things with this power, Or at the very least use the power to positively impact or steer somebody in the right direction, and not evil and misleading things but unfortunately some human beings don’t have this approach.

I also think it’s important for others to have their own interpretation of what animals that trusted you means. So, if you hold a different interpretation, I would honestly like to hear other people’s thoughts on what that line means to them.

“Callous” is already out as a lead single. What made that the right track to introduce this era?

I feel like “Callous” was the right track to introduce as the lead single for this album because it sets up, in my opinion, the mood of the album and what people can expect from the album plus I feel like it’s slightly upbeat. It’s very dynamic it’s got cool instrumentation and you can kind of tap your foot to it, it’s kind of like, it reminds me of a song that you can drive to or it’s like later at night and Callous comes on the radio and you’re just driving to it and you’re tapping your hand to it and it’s pretty introspective and it kind of makes you think and the phrase that repeats is “animals that trusted you” so it’s also the title of the album so I felt like that was an important line in the song and that’s kind of how I made the decision on the album title is that line repeating, I feel like that’s very poignant.

“Impoverished Shakedown” is also out now. How does it contrast thematically or sonically with “Callous”?

So, it’s kind of funny you ask that because the album originally was going to be titled Impoverished Shakedown and I was certain that’s what the album was going to be called. I actually asked a couple people that are close and trusting to me about which title they feel sticks out to them personally more and the majority chose animals that trusted you. Thematically Impoverished Shakedown in my mind is essentially asking more and more out of someone that’s already given so much and giving up so much that they really have nothing more to give but you’re still shaking them down you’re still wanting more out of them and these people are already broke they’re hungry they’ve given you everything they’ve had and you’re still shaking them down so that’s the theme. Sonically I would say Impoverished Shakedown is pretty cool because it has so many different parts to it and sonically the guitar that Stafford was able to put down and translate to the song in my opinion is some of his best work. This was one of the quickest songs that we wrote. We wrote the music for the song in a single session it probably took about man, I’m guessing 5 hours and I came up with the lyrics and the melody fairly quickly and then we obviously, you know, took it to the studio it’s on a similar wavelength as Callous but I would say it’s more Rocky and anthemic Callous is more pop rock straightforward alternative rock, whereas Impoverished Shakedown is more introspective alternative rock.

“Nonsense Just Feels So Wrong” arrived April 17. What can listeners expect from that track that they haven’t heard yet?

Yeah, good question so I feel like nonsense just feels so wrong is probably the most personal song on the album and the most minimalistic song on the album but with the most impact in the shortest amount of time. It’s got a cool guitar hook; it’s got multiple different vocal melody lines throughout the song and it kind of ends in a crescendo of harmonies and just cool sounding melodies and lyrics that just keep you guessing. It’s very powerful, very personal and it is actually my guitarist’s favorite song off the album and it’s definitely one of mine. I think it’s one of the songs I am most proud of because again it came to us pretty quickly, I was just kind of sitting there playing the guitar when Stafford was driving to our practice space and he came in the room and he came up with a guitar hook and I think we finished you know that song as well the same night, it just all kind of came together, fairly quickly. It’s honest.

“Sad Song in Your Town” Where does that sit emotionally within the album’s arc?

Sad song in your town was actually written many years ago I think I wrote it all the way back in 2009-ish and it was actually a lot of people’s favorite song when I would play it live and it got requested by people I would say that song and another song I wrote called The Clumsy One and Can’t Steal Soul. So those were probably the three songs that people requested the most. For some reason I just didn’t release it at all and I’m glad I waited. Sad song in your town was definitely a song that, no matter what, it was going to be on this album, I had to release it. I waited way too long but that time since 2009-ish it gave me time to refine some of the lyrics to really understand what direction I wanted to take the song in and it kind of gave me more clarity of where the song needed to sit as far as tempo, as far as pacing if it needed a rock vibe, should I make the song very slow? There was a lot of mixed emotions going through my head before I recorded sad song in your town but ultimately I chose to make it slightly upbeat and more Rocky and Poppy because I feel like, you know, when I listen to that song it’s it is kind of sad but then it’s kind of like happy because at the end of the day you have each other you have someone in your life and where it sits emotionally I think is you know like letting others go, but also making sure they know that no matter what you will be there for them it’s almost like being happy you met each other but also being happy that you are also going to be there for each other and hopefully you don’t just end up a sad song in in their town, you just so you don’t end up as a sad memory, but one of the lyrics I say is “I’ll be around just got to find me when you’re down” it’s kind of like, well I’m not I’m not here, I’m not present but if you just give me a call, I’ll answer and I’ll be able to talk to you and help you out whenever you need it but also, you know, good luck going forward and it was really nice meeting you.

Across the record, you touch on heartbreak, family separation and powerlessness. Which track was the hardest to finish emotionally?

The track that was the hardest to finish emotionally, that’s a tough one to answer. I think emotionally I was having a hard time accepting the words for Wrap Around and it’s only because I was being really vulnerable with that song and I wanted to make sure that the words, and that song that I sang, were as honest is possible and I didn’t want to sugarcoat anything and I suppose hardest to finish emotionally was probably Wrap Around. But at the end of the day it was a relief emotionally also to write because I feel like I got something off my chest in a way, so it’s kind of like a positive thing because I feel like if you have a song that is emotionally draining for you as the artist, it also allows you time to think about it and to process it and to sing out that emotion and it actually can be quite therapeutic and helpful.

You’ve blended alternative rock with electronic and pop elements. How intentional was that evolution in your sound?

I mean it’s 2026. I love how electronic elements sound and I love pop music at its core. I think pop music is just fun. A lot of pop music is written in two to three minute songs and I think it was very intentional that I wrote with electronic and pop elements in mind it’s just what I love in music I tried to take the things that I love in music and also things that I envisioned and try to create a song out of it and this was the album that came out of that and it’s tough because I feel like I do have so many influences and I don’t know hopefully you can hear some of them on this album. Just overall I like too many forms of music to count and almost anything goes when I’m writing. But I would say at its core my album sounds like Indie and alternative rock music.

How did working with high level mixers and mastering at Abbey Road elevate the final product compared to your earlier work?

Asking how it elevated the final product compared to my earlier work. I believe if I hadn’t worked on the few releases and albums I did prior to this, if I hadn’t done any of that then I believe the songs wouldn’t have been as good either way even if I had like say a high-level mixer or Master working on these tracks. I’ve learned so much over the last three releases, and I actually had a couple of high-level people work on you know a few of the songs on the previous 3 releases, you know Michael Brauer, Steve Vealey and I had Joe LaPorta he’s a top mastering engineer. I just think that with time and dedication and if I’m willing to put in the work and I am willing to stay passionate about music I would hope it’s ultimately going to just keep getting better and better. So yeah, Callous and Impoverished Shakedown those two songs were mixed by none other than Adrian Bushby he’s actually worked with bands like Foo Fighters, Muse, he’s even worked with Spice Girls and a band that I really love out of the UK, Everything Everything.

I also had the album recorded by a very talented producer in Minneapolis his name is Owen Sartori, he works out at F5 Sound House so shout out to him as well, he mixed most of the songs on the album and I had another guy out of I believe it was Santa Cruz his name was Math Bishop he’s worked with a few artists that I listened to in the past and respect so one of the artists he’s worked with was a band called Talk Time I just loved what he did with the mixing and he’s also mixed I believe a couple Taylor Swift songs so that doesn’t hurt either. Math ended up mixing “Sad Song in Your Town” on this album.

So when it came to mastering the album mastering is the final process of your completed song it’s kind of like the last audio engineer comes in and makes your sound, sound amazing through a home stereo a giant stereo setup and I actually reached out to Abbey Road Studios to master this album and I was thinking about which artists or which albums I’ve listened to recently that I didn’t question the sound and I kept coming back to Everything Everything’s last album called Mountainhead I also realized Frank Arkwright mastered the Smiths, New Order, Joy Division, Coldplay, Oasis, Snow Patrol, Johnny Marr and I immediately knew I had to have Frank Arkwright master the album and thankfully he agreed to it and honestly he did an incredible job and I don’t know, I’ll probably go back to him again, he’s awesome.

Looking at the full rollout from singles to vinyl and CD, what kind of listening experience do you ultimately want fans to have with this album?

So yeah, this album will be released on Vinyl, CD also any major streaming service. What kind of listening experience do I ultimate want fans to have with this album? I think whatever they prefer that they want to listen to it on, like for me I’ve been getting into vinyl recently I just love the sound and I like being able to hold the record putting it on that platter but ultimately whatever the listener chooses to listen to the album I can only hope that the experience they have with this album is one that they would want to save on their favorites and that they want to share with their family and friends and one that they would come back to and want to listen to it again and hopefully I think about you know some of the messages in the songs and what the songs actually just mean to them because at the end of the day I wrote most of these songs based on what I was feeling and what my guitarist was going through, however you know, whatever the listener is going through I want them to also be able to interpret the feelings in a way that they feel is most closely aligned to what they are going through. So ultimately, I would like for everybody, all walks of life to be able to enjoy this album no matter who they are and no matter what their background or whatever. I just hope that anybody and everybody will find some sort of relationship. I just hope that most people find that they can relate to at least a handful of songs off this album, that would be incredible.

 

LINKTREE

June 9, 2026 0 comments
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Festival NewsMusic News

Sawyer Hill (USA): Arkansas indie-rocker announces debut AU dates on the Everybody’s Home, Nobody’s Happy Tour – February 2027

by the partae June 9, 2026
written by the partae

Frontier Touring is excited to welcome US alt-rock breakout star Sawyer Hill as he brings his Everybody’s Home, Nobody’s Happy Tour to Australia for debut shows in February 2027.

Celebrating his upcoming album Everybody’s Home, Nobody’s Happy [out 21 August], Hill will take the release across the globe in his biggest headline tour to date. Kicking off the Australian leg at The Night Cat, Melbourne on Thursday 4 February before heading to Sydney’s Oxford Art Factory on Friday 5 February and a final show at The Triffid, Brisbane on Saturday 6 February.

Frontier Members can access their presale from 12pm local time on Wednesday 10 June, before tickets go on sale from 1pm local time. Tickets and tour information via frontiertouring.com/sawyerhill.

Watch: Sawyer Hill – High On My Lows

Fast becoming known for his genre-bending musicianship, lyrical storytelling and unmatched live presence, Sawyer Hill is the indie-rock newcomer that is on everybody’s radar. Playing bars as a teenager, sneaking through the back door so he wouldn’t be carded by bouncers, Sawyer graduated to national stages with the release of viral 2023 single ‘Look at the Time’. Catching the attention of fans across the globe, the multi-talent has since racked up over 130 million streams and more than 250 million video views, leading to the release of 2025 album Heartbreak Hysteria which cemented itself as an impressive debut for the young singer-songwriter.

Soon leaving Arkansas, bringing his music across the United States and Europe, Hill curated a standout live set. Generating a huge online following along the way, he performed sold out stops at LA’s Troubadour and NYC’s Bowery Ballroom, as well as an extensive tour supporting UK rocker Yungblud, with a summer of festival sets across the North America to come, including Outside Lands Festival, Bourbon and Beyond and Festival Corona Capital.

Upcoming album Everybody’s Home, Nobody’s Happy, draws on these experiences on the road. A project centred around his feeling of longing for home – an unexpected feeling – Hill hones in on the sonic and lyrical identity of the album, working with notable collaborators Mike Crossey [The 1975, Arctic Monkeys], Chris Greatti [Poppy, Yungblud], and Ryan Linville [Olivia Rodrigo, Dermot Kennedy]. What has resulted is an album of confidence, with a sound and style that feels like a Sawyer Hill record – being a voice for the loners and the doubters, the Southern kid who doesn’t understand why he’s meant to shut up about his feelings.

These debut live shows are not to be missed – catch alt-rock sensation Sawyer Hill on the Everybody’s Home, Nobody’s Happy Tour heading to Australia in February 2027.


SAWYER HILL
​EVERYBODY’S HOME, NOBODY’S HAPPY TOUR
​AUSTRALIA
​FEBRUARY 2027
​Presented by Frontier Touring


FRONTIER MEMBER PRESALE
​via frontiertouring.com/sawyerhill
​Runs 24 hours from: Wednesday 10 June (12pm local time) ​
​or until presale allocation exhausted

TICKETS ON SALE
​Begins: Thursday 11 June (1pm local time)


Thursday 4 February
​The Night Cat | Melbourne, VIC
​18+
​universe.com

Friday 5 February
​Oxford Art Factory | Sydney, NSW
​18+
​moshtix.com.au

Saturday 6 February
​The Triffid | Brisbane, QLD
​18+
​moshtix.com.au


Patrons are advised to purchase tickets only through authorised ticket sellers.

We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Frontier website.

FOLLOW SAWYER HILL:
​Website | Facebook | Instagram | TikTok | YouTube | Spotify | Apple Music

June 9, 2026 0 comments
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JET RETURNS TO THE REGIONS OF AUSTRALIA THIS OCTOBER & NOVEMBER

by the partae June 9, 2026
written by the partae

Following a hugely successful run across regional east coast centres in April and May, one of Australia’s most recognisable rock outfits Jet announce Part 2 of their Rumblin’ Regional Revue Tour in Australia throughout October and November.

Rumblin’ to 11 regional centres to deliver their signature hooks, timeless classics and electrifying live show, the tour kicks off on Thursday 22 October at UC Refectory in Canberra, stopping all stations from Wollongong, Erina, Hobart, Forth, Toowoomba, Coolum Beach, Gold Coast, Traralgon, Ballarat, and finishing up at Pier Bandroom in Frankston on Saturday 14 November.

General public tickets go on sale on Friday, 12 June, 12pm (local). For complete tour & ticket information, visit: livenation.com.au 

The Live Nation Presale starts Thursday, 11 June, 12pm (local) until Friday, 12 June, 11am (local) or until allocation is exhausted. To purchase presale tickets, sign up now at livenation.com.au/register.

Twenty-five years into their illustrious career, Jet haven’t lost an ounce of what makes them one of the country’s most exciting and enduring rock bands. In 2023, JET returned to live form after a five year hiatus from touring, to celebrate 20 years of their debut album Get Born. That same year their enduring legacy was officially recognised in November, when they were inducted into the ARIA Hall of Fame.

Since then, Jet has been riding a wave of momentum. 2025 saw Jet perform huge shows across the US and join Lenny Kravitz locally on his Blue Electric Light Tour to adoring fans and rave reviews with Rolling Stone stating, “We immediately get what we need from the Melbourne rockers”.

Originally hailing from Dingley in Melbourne’s south-east, Jet exploded onto the global stage following their formation in 2001. Their landmark 2003 debut album, Get Born, sold more than 6.5 million copies worldwide, earning nearly 10x Platinum certification in Australia and Platinum accreditation in both the US and UK. Packed with era-defining singles including ‘Are You Gonna Be My Girl’, ‘Rollover DJ’ and ‘Look What You’ve Done’, the album saw the band collect six ARIA Awards in 2004. ‘Are You Gonna Be My Girl’ and ‘Cold Hard Bitch’ both reached No. 1 on the US Modern Rock charts, cementing Jet’s place among the biggest rock acts in the world and propelling them to headline festival stages across the globe.

Building on that success, Jet returned in 2006 with their sophomore album, Shine On. Showcasing the band’s trademark blend of swaggering rock and infectious melodies, the record delivered fan favourites including ‘Put Your Money Where Your Mouth Is‘, ‘Bring It On Back‘ and ‘Rip It Up‘. The album achieved Platinum status in Australia and was supported by a string of acclaimed international headline tours, as well as a memorable run on the 2007 Big Day Out festival circuit.

After delivering knock out performances on Part 1 of the Rumblin’ Regional Revue in April and May this year, Jet are polished and poised to blow away crowds on Part 2 of the tour. Don’t miss Jet at the top of their game, 25 years deep into their career, on the Rumblin’ Regional Review this October and November.

Joining Jet across all shows (except Tasmania) are Sydney 5-piece alt-rockers, Liquid Zoo. Bursting onto the scene just last year, Liquid Zoo are making waves with their infectious energy and brazen confidence on tracks like ‘Taste’, ‘Tell Me’ and ‘Can’t Afford It’. Self-certified as “20% rock, 80% roll”, Liquid Zoo channel the swagger of The Rolling Stones and the sharp-edged cool of The Strokes. Warming the stage across the Tasmanian shows are Hobart’s own acid-psych blues-rock four-piece Spooky Eyes. Having supported the likes of Foo Fighters, Jack White and Wolfmother, the electrifying outfit are known for punishing ears with their eclectic brand of amplified psychedelic blues. Their signature sound is on full display across tracks such as ‘Evil Eye’ and ‘Harvest’.

JET
RUMBLIN’ REGIONAL REVIEW TOUR (ROUND 2) – AU 2026For complete tour & ticket information, visit: livenation.com.au 

UC REFECTORY, CANBERRA – THURSDAY 22 OCTOBER
WAVES, WOLLONGONG – FRIDAY 23 OCTOBER
WOODPORT HOTEL, ERINA – SATURDAY 24 OCTOBER
ODEON THEATRE, HOBART – FRIDAY 30 OCTOBER
FORTH PUB, FORTH – SATURDAY 31 OCTOBER
THE POWERHOUSE, TOOWOOMBA – THU 5 NOVEMBER
BLACK FLAG BREWING, COOLUM BEACH – FRI 6 NOVEMBER
MIAMI MARKETTA, GOLD COAST – SAT 7 NOVEMBER
THE DECK, TRARALGON – THU 12 NOVEMBER
CIVIC HALL, BALLARAT – FRI 13 NOVEMBER
PIER BANDROOM FRANKSTON – SAT 14 NOVEMBER

Connect with Jet
Website | Facebook | Instagram | X |YouTube | TikTok | Spotify
June 9, 2026 0 comments
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Music InterviewsMusic News

Interview: INDOLORE On Memory, Music and La Vie Side B

by the partae June 8, 2026
written by the partae

There’s a strong sense on this EP of adulthood being peeled back, almost like you’re trying to get back to something lighter or more instinctive. How intentional was that in the writing?

I truly believe that a song quietly draws on our subconscious as it is being written, the melody, the rhythm, and the words alike. Without realizing it, I imprinted a carbon copy of the state of my soul onto these very latest songs. And when I listen to them again, it seems they call for a return to the naive and magnificent enthusiasm I felt as a teenager. So no, it wasn’t intentional, but what a great surprise!

Do you feel like this record is exposing things you might have kept buried earlier in life, or is it more like you’ve stepped into a completely new chapter and left that framing behind?

Events, people, and places have shaped who I am. It took me time to navigate life’s challenges, to learn to express my feelings, and to sort through them, so that I could finally do justice to these people and places in my writing, and thus pay tribute to them through this record. I owed them this music. I must admit that I also owed it to myself.

That idea of bottling a very specific moment in 1989, those couple of hours, how do you even begin to translate something that precise and fleeting into sound without it becoming abstract?

Music has that power: the power to evoke a scent, a memory, an indelible emotion, without trying to replicate it. In the middle of the summer of 1989, at just 15 years old, I deliberately slipped away from my parents’ watchful eyes and left the hotel to stride proudly up 7th Avenue, my Sony Sports Walkman on my ears. I was from a tiny town in southwestern France; imagine what a huge shock it was! The world was mine for two hours. You never forget a moment like that. And like a junkie, I’ve spent my whole life looking for a way to relive it. It was definitely worth a song. I dedicate “Manhattan 89” to that fearless kid we all used to be, the one we should never let be silenced within ourselves.

“Terry” has its own emotional weight, especially knowing you sent it to Terry Reid while he was still alive and unwell. When he responded, what stayed with you most, and did it change what the song meant to you after that?

Terry Reid was a genius, a tremendous artist, and a wonderful man. He was a giant, and yet instead of intimidating you, he gave you wings. In fact, he was the first to give me wings. I was lucky enough to work with him, to get to know him and his loved ones well, until we became friends. We even had plans to work on his new album together.

I wrote and recorded this song, “Terry,” before he became seriously ill last year, and I sent it to him a month before he passed away. It was absolutely essential that he heard it, that he knew, through the music, that I loved him and that I was grateful to him. He was very moved by it, just as I still am right now as I am answering your question.

“Terry” has become a bridge between us, the kind of bridge we hope will last forever. Music can do that, too.

There’s also this quiet thread of your grandmother running through the record, not overt, but always there. Did that presence shift how you approached tone or instrumentation at all, even subconsciously?

As for the track “So Long,” the image of my grandmother immediately came to mind as soon as I played the first few chords on the piano. She passed away a long time ago now. But I can still feel her presence. Especially in moments of uncertainty, when the coin could land either way. She still helps me, just as she always did.

During the last years of her life, I wasn’t there for her as I should have been. Today, I am finally engraving my love for her.

And then you’re in the Hotel Chelsea, recording piano in a space that already carries so much history. Do you feel like the room dictated anything in the performance, or were you trying to shut that out completely?

It happened one day in the summer of 2024 in New York (much like a certain summer of ’89). My girlfriend and I had decided to visit the Hotel Chelsea, where so many legends and artists of all kinds had lived for decades. The hotel was still under renovation, but we were able to go inside.

You might think I’m crazy, but I immediately sensed something unusual; I could almost hear whispers coming down the monumental staircase. At the end of the hallway stood an old upright piano. I sat down at it, mechanically, naturally. The hallways were empty. Well, empty, not really.

I really felt a peaceful presence right over my shoulder, guiding my hands across the keyboard. So I started playing, improvising some chords and a melody, while my girlfriend was filming the scene. The piano you hear on the track “Hotel Chelsea” is the very same piano recorded inside the Hotel Chelsea that day, perhaps with a little help from some friendly ghosts…

You’ve moved between some pretty different worlds sonically and geographically, Iceland, Nashville, Paris, New York. At what point do those places stop being “influences” and start becoming part of the actual writing process?

Ever since I was a child, I’ve always felt the need to set out on adventures. I grew up surrounded by nature, with the ocean on one side and the forest on the other, between two endless horizons. The need to discover what lay at the far end of each has always driven me.

And then music became my vehicle, almost my excuse, to go further and bring back a personal and unique souvenir: an album, a song, a lesson learned, a story.

The shift between recording in Paris with Antoine Delecroix and then finishing in New York with Fred Kevorkian, did that distance help clarify the emotional tone of the record, or complicate it?

It felt very natural and rewarding. This record needed to go through that journey to refine itself. Antoine and I created the sound, and Fred took it to the next level. We always come back from an epic trip better than before, and so does the music.

Your last EP, the first chapter of La Vie, set a very specific emotional frame. Where does this second part sit in relation to it, is it answering it, breaking away from it, or something else entirely?

Since it’s sung in English this time, “La Vie Side B” is more like a postcard you send to yourself from a faraway land. It is both hopeful and nostalgic. When you receive it, it makes you feel good. And later, when you read it again, it feels the same.

And on a simpler note, what’s it like knowing people are connecting so deeply to something you’ve deliberately kept so quiet and restrained?

It’s magical. It’s rare and fragile. It’s what AI tries to replicate every day, with no real chance of ever truly succeeding. We live, we suffer, we pick ourselves up, we write to feel better, and if it’s sincere, if it’s human, if it’s the fruit of our own labor, and if the stars align, then maybe the music manages to touch someone else.

It happens to me sometimes, and it fills me with joy and gratitude every single time.

Tracklisting

Manhattan 89 (4:35)

Terry (3:35)

So Long (2:32)

Hotel Chelsea (2:05)

 

WEBSITE

June 8, 2026 0 comments
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Festival NewsMusic News

Bizarro unveils Overtone, Freeform & Mode festival lineups, feat. Barry Can’t Swim (DJ), Interplanetary Criminal, Richie Hawtin, Mall Grab & more

by the partae June 7, 2026
written by the partae

BIZARRO UNVEILS FESTIVAL LINEUPS
OVERTONE | FREEFORM | MODE

THREE FESTIVALS. THREE CITIES. ONE WEEKEND.

FEATURING
(A-Z)

BARRY CAN’T SWIM (DJ) / INTERPLANETARY CRIMINAL
MALL GRAB^ / RICHIE HAWTIN

(A-Z)
2LUBLY* / 6 SENSE^ / ALILIA B2B ANUSHA+ / ASH LAURYN*+
AVALON EMERSON / BELLA CLAXTON / BEN UFO / CALL SUPER*+
CRŸBABY* / D. DAN / EVA CHARLEY^ / FREDDY K / FUCHSIA+
GiGi FM*+ / HARRY HAYES+ / HASVAT INFORMANT*+ / JUN WAN+
KSMBA+ / LIZA^
 / MEMPHIS LK / MIKALAH WATEGO / NED BENNETT
NGAARU^ / OBEIDO+ / OGAZÓN*+ / RAKHI* / RON TRENT*+
SHIMMY^ / STORM MOLLISON*+ / SWIM / TORI PEPPER^
TWIENA*+ / TWO SHELL

^OVERTONE +MODE *FREEFORM

OVERTONE FESTIVAL
FRIDAY 2 OCTOBER | GOLD COAST/KOMBUMERRI | 
EARLY ACCESS TICKETSFREEFORM FESTIVAL
SATURDAY 3 OCTOBER | MELBOURNE/NAARM | EARLY ACCESS TICKETSMODE FESTIVAL
SUNDAY 4 OCTOBER (LABOUR DAY WEEKEND) | SYDNEY/EORA | EARLY ACCESS TICKETS

Bizarro unveils the 2026 lineups for Overtone, Freeform and Mode festivals, taking over iconic sites in Gold Coast/Kombumerri, Melbourne/Naarm and Sydney/Eora this October. Three heavyweights among their respective scenes are set to headline – Barry Can’t Swim (DJ), Interplanetary Criminal and Richie Hawtin, while Mall Grab will also top the Overtone bill.

Each respective lineup is centred on the same DNA celebrating electronic music on day-to-night dancefloors, while also being individually sculpted by the cities and spaces around them. Across one weekend, three festival rosters will bridge global electronic names with local talent, injecting world-class music experiences into three unique locations down the East Coast.

Edinburgh-born, London-based producer Barry Can’t Swim is arguably one of the most exciting electronic acts in the world. Armed with the groove-heavy, jazz-inflicted dance euphoria of breakout 100M+ streamed debut When Will We Land?, to 2025 album Loner, he’s earned his headline chops through stand-out performances across Glastonbury, Warehouse Project, All Points East, Lost Village and more. Label boss and figurehead for club music coming out of Northern England, Interplanetary Criminal also takes a rightful place atop the trio of festivals as this generation’s UKG hero. His wealth of club ready releases include 2x Platinum “B.O.T.A. (Baddest Of Them All)” with Eliza Rose, high profile remixes, collaborations with KETTAMA, Sammy Virji, Gorgon City and more, and folks can expect plenty of high octane speed garage, bassline and donk from the game-changing producer’s festival set.

British-Canadian electronic musician and DJ Richie Hawtin is a legacy unto himself, a vanguard of the art and technological communities and named by DJ Mag as “techno’s future-focussed pioneer”. Spearheading the early 90s minimal techno movement and shaping the techno sound that has become synonymous with Detroit’s scene, Hawtin has gone on to become a three-time winner of DJ Awards’ Best Techno DJ, put an underground edge on avant-garde electronica with his Plastikman pseudonym, and nurtured fellow talent under Plus8 and Minus Records. Overtone will give Gold Coast an extra treat, with Australian DJ and producer Mall Grab also joining as headliner. Needing little introduction to the local scene, the dancefloor giant has consistently risen in success with his artistic finesse and nostalgic yet boundary-pushing production styles, felt most recently in his re-work of Milky’s “Just The Way You Are”.

Maxing out the lineups are an elite assortment of curators, each having firmly made their mark on the global electronic scene. Among them are Detroit-born, Atlanta-based house and techno DJ and cultural voice Ash Lauryn, esteemed musical polymath, Berghain queen and sought-after festival DJ Avalon Emerson, high-energy fixture Melbourne/Naarm’s club scene Bella Claxton, London DJ and radio icon Ben UFO, the inventive, always danceable techno of Call Super, the raw grooves and psychedelia of Berlin-based DJ and producer D. Dan, fellow Berlin-based DJ and activist Freddy K, GiGi FM’s hypnotic and fluid techno, and the pulsating, underground productions of Melbourne/Naarm’s Hasvat Informant.

Australian-raised, London-based DJ, producer and vocalist Memphis LK will bring her transportive show built on her DIY artistry, alongside the experimental rhythms of Bundjalung DJ Mikalah Watego and the mixed bag styles of hardgroove producer Ned Bennett. Part-Spanish, part-Luxembourgish artist Ogazón joins them hailing from Amsterdam’s after-hour scene, along with Grammy-nominated American house music producer Ron Trent, the transatlantic sound of Rinse FM resident Storm Mollison, Melbourne/Naarm-born, London-based producer and one of our most compelling electronic exports, SWIM, the 4×4 rave and techno of TWIENA, and mischievous UK duo Two Shell’s blends of UKG, post-dubstep and techno.

Overtone alone will also be treated to sets from 6 SENSE, Eva Charley, LIZA, Ngaaru, SHIMMY and Tori Pepper, while 2LUBLY, Crÿbaby and Rakhi join the Freeform lineup. Expanding the menu at Mode are buzzy locals alilia b2b anusha, Fuchsia, rapidly-rising Sydney/Eora producer Harry Hayes, producer, Gunggandji / Wiradjuri DJ Jun Wan, vocalist and DJ KSMBA and Chinese Laundry resident Obeido.

Overtone channels a raw, rave-inspired aesthetic and brings it to Musgrave Park on FRIDAY 2 OCTOBER. Freeform is co-presented by Crown Ruler, and will deliver its largest lineup yet across four stages within the iconic grounds of Sidney Myer Music Bowl on SATURDAY 3 OCTOBER. Mode Festival stands at the forefront of the Australian electronic scene – a multidimensional celebration of cutting-edge music, striking visuals and forward-thinking and design that returns to Cockatoo Island/Wareamah on SUNDAY 4 OCTOBER, making the most of the city’s Labour Day long weekend.

Early access for each festival commences on Wednesday 10 June – your chance to access tickets before they go on sale to the general public. General on-sale begins on Thursday 11 June.

Lineups are unique for each event, so find out who’s coming to your city in the event breakdowns below.

OVERTONE: WEBSITE | INSTAGRAM
FREEFORM: WEBSITE | INSTAGRAM
MODE: WEBSITE | INSTAGRAM
BIZARRO: INSTAGRAM
June 7, 2026 0 comments
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Festival NewsMusic News

RUM JUNGLE RELEASE DEFINING SOPHOMORE ALBUM MARGINALIA

by the partae June 7, 2026
written by the partae

Photo credit: Nikola Jokanovic

Rum Jungle return with Marginalia, a sophomore album that captures a band in transition, balancing the weight of growth with a newfound sense of creative freedom. Written across a year of personal and professional change, the record reflects a period of introspection, self-questioning and emotional turbulence, ultimately arriving at a place of clarity and acceptance.

At its core, Marginalia explores themes of time, memory and self-worth, tracing the tension between nostalgia, uncertainty and the decision to embrace the present. Moments of inner turmoil sit alongside feelings of release and optimism, framing the album as both a time capsule of a specific period and a broader reflection on navigating change.

The album arrives at a landmark moment for Rum Jungle. Following years of relentless touring and a rapidly growing international audience, the four-piece are preparing for their biggest chapter yet, with major festival appearances at Austin City Limits and Shaky Knees, an extensive Australian and New Zealand headline tour, and a UK and European run supporting acclaimed UK indie outfit Cassia. The upcoming shows continue the band’s steady rise from regional Australian venues to international stages, cementing their reputation as one of the country’s most exciting live acts.

Sonically, Marginalia expands significantly on the band’s debut. Where earlier material was shaped in confined spaces, this record was brought to life in larger studio environments, resulting in a more expansive and dynamic sound. Live recording techniques and loose, jam-led sessions give the album a raw immediacy, with booming drums, textured guitars and a sense of space that elevates the band’s signature melodic instincts. The result is a body of work that feels both more ambitious and more instinctive, capturing the energy of a band leaning into experimentation without losing their core identity.

Drawing from a wide range of influences, Marginalia blends indie rock and alternative textures with elements of slacker rock, acoustic songwriting and contemporary pop sensibilities. Touch points span from the distorted edge of Pixies and the loose jangle of Pavement to artists such as The Strokes, Dominic Fike, Mk.gee, Beck, Lana Del Rey and Dijon. The diversity of these influences creates a natural push and pull across the record, contributing to its tonal variation and emotional depth.

Recorded across immersive sessions in Sydney, the album’s creation mirrors its themes: a period of intensity, unpredictability and close-quarters living, with the band effectively residing inside the studio as the record took shape. That environment fostered both spontaneity and reflection, allowing moments of instinct and clarity to guide the process as much as deliberate experimentation. The result is a record that feels lived-in and immediate, capturing not just the songs themselves but the energy and conditions in which they were made.

Ultimately, Marginalia documents a band learning to navigate uncertainty, acknowledging that happiness is not constant, but choosing to move forward with intention. It is both a reflection on who Rum Jungle have been and a statement of who they are becoming, a defining release from a band entering its most ambitious era yet.

TOUR DATES

Tickets available at www.rumjungleband.com

MARGINALIA AU/NZ TOUR

with special guests sleepazoid and Local the Neighbour*
Perth only supports Great Gable & Blush | NZ supports BADTAB

Thursday 11th June, 2026 | Tuning Fork, Auckland [AA]
Friday 12th June, 2026 | San Fran, Wellington [AA]
Saturday 13th June, 2026 | Wunder Bar, Christchurch [18+]
Friday 19th June, 2026 | Princess Theatre, Brisbane*^ [AA]
Friday 26th June, 2026 | Roundhouse, Sydney*^ [AA]
Saturday 27th June, 2026 | Northcote Theatre, Melbourne*^ [AA]
Friday 3rd July, 2026 | Astor Theatre, Perth [AA]
Saturday 4th July, 2026 | Hindley Street Music Hall, Adelaide*^ [AA]
Sunday 5th July, 2026 | In the Hanging Garden, Hobart*^ [AA]


MARGINALIA NORTH AMERICAN TOUR

Tuesday 8th September, 2026 | Cat’s Cradle – Back Room, Carrboro, NC
Wednesday 9th September, 2026 | Pearl Street Warehouse, Washington, DC
Thursday 10th September, 2026 | Baby’s All Right, New York, NY
Friday 11th September, 2026 | The Sinclair, Cambridge, MA
Sunday 13th September, 2026 | Horseshoe Tavern, Toronto, ON
Tuesday 15th September, 2026 | Subterranean, Chicago, IL
Thursday 17th September, 2026 | Ace of Cups, Columbus, OH
Friday 18th September, 2026 | The End, Nashville, TN
Saturday 19th September, 2026 | Shaky Knees, Atlanta, GA
Tuesday 22nd September, 2026 | The Bottleneck, Lawrence, KS
Thursday 24th September, 2026 | Marquis, Denver, CO
Saturday 26th September, 2026 | Velour Live Music Gallery, Provo, UT
Monday 28th September, 2026 | Polaris Hall, Portland, OR
Wednesday 30th September, 2026 | Rickshaw Theatre, Vancouver, BC
Thursday 1st October, 2026 | Neumos, Seattle, WA
Sunday 4th October, 2026 | The Chapel, San Francisco, CA
Monday 5th October, 2026 | Echoplex, Los Angeles, CA
Tuesday 6th October, 2026 | Voodoo Room, San Diego, CA
Sunday 11th October, 2026 | Austin City Limits, Austin, TX


UK/EU TOUR (SUPPORTING CASSIA)

Wednesday 4th November, 2026 | Wylam Brewery, Newcastle, UK
Thursday 5th November, 2026 | O2 Academy, Bristol, UK
Friday 6th November, 2026 | Rescue Rooms, Nottingham, UK
Saturday 7th November, 2026 | Arts Club, Liverpool, UK
Sunday 8th November, 2026 | The Garage, Glasgow, UK
Tuesday 10th November, 2026 | Project House, Leeds, UK
Wednesday 11th November, 2026 | CHALK, Brighton, UK
Thursday 12th November, 2026 | Trix Club, Antwerp, BE
Saturday 14th November, 2026 | Melkweg OZ, Amsterdam, NL
Sunday 15th November, 2026 | Nachtleben, Frankfurt, DE
Monday 16th November, 2026 | Dynamo Werk 21, Zurich, CH
Tuesday 17th November, 2026 | WUK, Vienna, AT
Friday 20th November, 2026 | Lido, Berlin, DE
Saturday 21st November, 2026 | Mojo Club, Hamburg, DE
Sunday 22nd November, 2026 | Club Volta, Cologne, DE
Monday 23rd November, 2026 | Ampere, Munich, DE
Wednesday 25th November, 2026 | Backstage By The Mill, Paris, FR
Friday 27th November, 2026 | O2 Forum Kentish Town, London, UK
Thursday 3rd December, 2026 | O2 Ritz, Manchester, UK

STREAM

Tickets available at www.rumjungleband.com

 

June 7, 2026 0 comments
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Festival NewsMusic News

LEAPS AND BOUNDS MUSIC FESTIVAL RETURNS IN 2026

by the partae June 7, 2026
written by the partae
City of Yarra’s annual winter music festival, Leaps and Bounds, returns to a full ten-day format in 2026, championing the venues, artists, DJs, promoters and collectives that make Yarra one of Australia’s most important live music communities.

Beloved institutions, late-night haunts, DIY spaces and neighbourhood locals will host live shows, broadcasts, pop-ups, record fairs and one-off collaborations across Fitzroy, Collingwood, Abbotsford and Richmond from Thursday 16 to Sunday 26 July, with every event either free or low cost to attend.

“Live music is a fundamental part of Yarra’s identity,”  Yarra City Council Mayor, Stephen Jolly said.

“Leaps and Bounds is about backing that culture by supporting the local artists, bookers, promoters and venue operators who make us one of the most important music communities – if not the most – in Australia. And with ten days of free and low-cost events, we’re making sure that more people can experience it.”

Presented in partnership with local venues, promoters and communities, Leaps and Bounds continues to showcase the people and places that make Yarra one of Australia’s most important live music destinations.

This year’s program includes several all-day venue takeovers, including IN MOTION, part of HIGH GROUND, taking over The Night Cat, The Evelyn Hotel and Punters Club with Public Figures, Skeleten and more.

Collingwood’s new train carriage venue Trainscendence hosts Loco Motion, a weekend of music, arts and creative culture for all ages featuring Charlie Needs Braces and more. The Gem hosts a free Sunday session: Stone Fest featuring Girlatones, Daisy Kilbourne and Hannah Kate, while Liberate Community presents Equaliser: A Disability Pride Party at The Leadbeater Hotel in Richmond.

Global sounds, storytelling and cultural exchange feature throughout the program, including Stani Goma’s To Bina: A Night of Soukous Vibrations Powered by El Gran Mono at Abbots Yard, Diversity Funk at The Horn and Akwaaba at Old Plates – a celebration of West African music, culture and food headlined by Immy Owusu and Sensible J. The Builders Arms Hotel also hosts The Yalinguth Archives, a special night of yidaki, songs and stories reflecting on Fitzroy’s iconic meeting places and the Aboriginal community that helped shape them.

Lower Johnston St heats up with Nighthawks and The Bendigo teaming up for Lowlight on Lojo, while nearby Lulie Tavern hosts LittlePalooza, a free and fully accessible all-day party featuring Leroy MacQueen, Platonic Sex and more. The Tote also welcomes South Australian Aboriginal hip hop crew DEM MOB.

Further up the road, The Old Bar is putting on a zine fair soundtracked by loud DIY punk, Baxter’s on Brunswick St makes way for some of the city’s best emerging artists across three nights with Sounds Like Tomorrow, and Glamorama teams up with REELIZE Studio for an immersive AV club night INFUSE ft. dozie.

As always, the Leaps and Bounds Record Fair returns to Collingwood Town Hall, while PBS continues its festival tradition with a live broadcast from the Yorkshire Stingo Hotel in Abbotsford.

There are plenty more discoveries to be made across the festival, with further special events taking place at Bodriggy Brewpub, Skydiver Records, Smith St Hotel, The Catfish, Railway Hotel, Yah Yahs, The Standard, The Grace Darling, and Bar Open.

Plus, a secret venue launch party set to be revealed closer to the festival!

For the full program, visit Leaps and Bounds Music Festival.

Leaps and Bounds Music Festival is proudly presented by Yarra City Council and supported by PBS.

Winter sounds better in Yarra.

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Music News

Legendary musician Haruomi Hosono signs to Ghostly International + announces new album due Sep 11

by the partae June 7, 2026
written by the partae

Photo by Masahiro Handa

Legendary musician, producer, and composer Haruomi Hosono signs to Ghostly International and announces a new album, Yours Sincerely due Sept 11th. Hosono’s work has shaped pop, indie, and electronic music and beyond globally for over five decades, predicting entire lanes of music before they existed. Frieze has proclaimed him as “probably the most significant artist in the history of Japanese popular music.” Now at the age of 78, Hosono is entering his next chapter with his 23rd studio album. PRE-ORDER HERE

Ever-pushing his inventive songcraft, Hosono shares, “I am now 78 years old, but from here on, I feel a growing curiosity toward the unknown music that my new self will create, while also embracing the music of my former self—as if I now carry two musical worlds within me.”

Yours Sincerely was shaped over two years. Hosono shares, “It started with a simple question: how do you express the Japanese ideas of omoiyari (思い遣り), jihi (慈悲), or boseiai (母性愛) in English? I searched, but no word felt quite right. Each came close, yet carried a slightly different nuance. Perhaps the nearest was ‘compassion.’ It is often translated as ‘omoiyari’ in Japanese, but its original meaning is ‘to suffer together.’ It tends to carry a sense of sympathy or pity—something that feels distinct from the Japanese sense of omoiyari. In Japanese, omoiyari also includes the feeling of ‘rejoicing together.’ In that sense, it may even seem like the opposite. The perspective, the emotional angle—subtly but fundamentally different. For that reason, I chose not to use ‘compassion.’ Instead, I turned to a more familiar word often used to close a letter: ‘Sincerely.’”

Across arrangements spanning tender, exploratory folk and bubbling avant-pop, Hosono contemplates a maternal force that envelops the Earth, “humanity’s understanding of the unconditional love possessed by those who give us life,” he says. Songs tap into a collective current, the “deeply buried instincts—maternal compassion and mercy, things we rarely engage with in our daily lives.

Shaped by mid-century American music, Hosono‘s work now reverberates back through a new generation of Western artists—a remarkable circular exchange. Hosono has been cited by an acclaimed list of contemporary artists, including Mac DeMarco, Cameron Winter, Ginger Root, Vampire Weekend, and Harry Styles. Harry Styles named his chart-topping 2022 album Harry’s House directly after HOSONO HOUSE (1973), Mac DeMarco has called him his “hero,” and Vampire Weekend’s Ezra Koenig sampled his work on the Grammy-winning Father of the Bride.

A founding member of Happy End and Yellow Magic Orchestra (YMO), Hosono helped establish Japanese-language rock in the 1970s and pioneered electronic music with YMO—whose 1979 album Solid State Survivor topped the Japanese Album Chart, sold over two million copies, and became foundational to synth-pop, techno, and hip-hop.

Hosono is also announcing The Yours Sincerely Tour in North America this September, headlining Radio City Music Hall in NY and the Greek Theatre in LA as his first US shows in seven years. Toro y Moi will support both performances. Artist presale begins on Tuesday, May 26th, at 10am local time. To gain access, pre-order from ghostly.com. General on sale begins on Friday, May 29th, at 10am local time on livenation.com.

HARUOMI HOSONO
Yours Sincerely
out Sep 11 via Ghostly International
PRE-SAVE/PRE-ORDER HERE

TRACKLIST
Note of Mothership
Sincerely
Ayurveda
M for Mandala
Rojiura
Happy Holiday
To a Wild Rose
Humming “Dream of Love”
Figlio Perduto
Anemo Wheel

US TOUR DATES
* = with Toro y Moi

Sep 16 – New York, NY @ Radio City Music Hall*
Sep 20 – Los Angeles, CA @ The Greek Theatre*

Stay connected with Haruomi Hosono:
23 Profile | Instagram | X | YouTube

June 7, 2026 0 comments
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Music News

Swapmeet share third single/video ‘2 C U’ from forthcoming debut album Mount Zero out July 17 via Winspear

by the partae June 7, 2026
written by the partae

Photo: Josh Sabini

Swapmeet unveil new single and video ‘2 C U’. Hot off a sold out Sydney headline and triple j playlist addition, the group continue garnering anticipation for their debut album Mount Zero, set to arrive on JULY 17 via Winspear. LISTEN + WATCH ‘2 C U’ HERE + PRE-SAVE LP HERE + PRE-ORDER VINLY HERE.

A reflection of their forthcoming album’s themes of  first loves, first heartbreaks, first embarrassments, first disasters, Swapmeet’s ‘2 C U’ harnesses the blistering mania of infatuation. They explain, “2 C U captures the excitement of wanting to see someone, the mindless things you think or do in anticipation, and how the nerves that follow cannot be controlled.” With infectious see-saw instrumentation and vocals fronted by Maxwell Elphick and Venus O’Broin, they acutely straddle impulse and desperation with the group’s mischievous nature.


WATCH: ‘2 C U’ (Official Video)

Mingling airy sweetness with jagged surrealism, Mount Zero transmutes so many of the regrets and uncertainties of young adulthood into a burgeoning, newfound confidence. Bottling the tooth-gritting intensity of feeling yourself change at the cellular level under reality’s unyielding pressures, it’s a tribute to all the lives that can never be lived, all the paths that will never be followed – and an ode to the one that lies just ahead, too.

Swapmeet set the year ablaze with their Winspear label signing and have not let up since. triple j playlisted single ‘I Know!’ would dominate across radio with over 100 spins in its debut week and the recent ‘Sand’ continues heaving across DPS’s. Marking the announcement of their debut album, the song claimed covers on Spotify’s Today’s Indie Rock and Indie Arrivals with over forty editorial playlist additions across platforms on release.

With each step Swapmeet’s legion of fans continue to snowball, shaping the imminent Mount Zero for one of the most anticipated releases of the year. Affirmed already by NME, Northern Transmissions, Stereogum, BrooklynVegan, Consequence, Dork, DIY, Paste, The Line Of Best Fit, So Young, BBC Radio 6, Apple Music, triple j, fbi.radio, 2SER, SiriusXMU to Rolling Stone, who shared, “These four friends from Australia were one of the buzziest international acts at this year’s SXSW, and they’re about to release an excellent debut album.”

SWAPMEET
Mount Zero LP
JULY 17 via Winspear
PRE-SAVE HERE + PRE-ORDER VINYL HERE

‘2 C U‘ is out now, buy/stream it here.

TRACKLIST
I Know!
Mount Zero
Bonny
Halfway
2 C U
Seeds
Sand
Personal (Don’t Take It)
My Heart Breaks II

TOUR DATES
Thu 11 Jun – Phoenix Central Park – Eora / Sydney
Sat 20 Jun – Against The Grain Festival – Magadjin / Brisbane

Tickets available at swapmeetband.com

Stay connected with Swapmeet:
23 Profile | Website | Facebook | Instagram | YouTube | Bandcamp | triple j Unearthed

June 7, 2026 0 comments
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Festival NewsMusic News

Introducing HIGH GROUND & their inaugural winter program ft. including Protomartyr, Violent Magic Orchestra, Mildlife and lots more

by the partae June 7, 2026
written by the partae

Located on Wurundjeri Country, HIGH GROUND is a live music series inspired by Fitzroy’s traditional name, Ngár-go – an area long synonymous with creative independence, resistance, and pushing boundaries.

Launching this winter across The Night Cat, The Evelyn and Punters Club, HIGH GROUND celebrates Fitzroy’s rich musical legacy with a multi-genre collision of sound from the fringes to the forefront. Running from May through August, the program features a broad lineup of live music, bringing audiences back to Fitzroy’s beloved independent venues during the colder months.

The inaugural program features performances from internationally acclaimed post-punk outfit Protomartyr, Senegalese rhythmic pioneers Mark Ernestus & Ndagga Rhythm Force, Japanese audiovisual collective Violent Magic Orchestra, New York experimental group YHWH Nailgun, Naarm psychedelic-jazz favourites Mildlife and Los Angeles R&B artist Jenevieve, alongside a mix of local artists, collectives, DJs and community-led programming.

At the centre of the program is HIGH GROUND: IN MOTION, a multi-stage event taking place Saturday, July 18, across all three venues within the Fitzroy Triangle: The Night Cat, The Evelyn and Punters Club. Presented by CLBR, PBS 106.7FM and Leaps and Bounds Music Festival, audiences can move between venues for one night of live music, DJs and late-night programming.

The first IN MOTION lineup includes performances from Skeleten, Sleepazoid, XIAO XIAO, Orange Moon, No News, Rain Dogs, Horatio Luna, DJ LUV YOU, Public Figures, Setwun & The Soulstranauts and Miles Nautu.

Fitzroy has stood as one of Australia’s most important homes for live music for decades – a suburb built on independent venues, underground scenes, DIY spaces, late nights and generations of artists shaping counterculture. From the influential Punters Club era of the 1990s to Fitzroy’s underground warehouse rave movement and the vibrant scenes emerging today, the suburb has long been a meeting point for artists, communities and ideas.

Across the years, global cultural figures have intersected with Fitzroy’s creative identity; Muhammad Ali walked Gertrude Street during his 1979 visit to the Aboriginal Health Service, Keith Haring painted nearby walls in the 1980s, Kylie Minogue performed one of her earliest shows at a Fitzroy Football Club fundraiser, and Jeff Buckley played an impromptu rooftop set above Triple R on Victoria Street in 1996.

Fitzroy’s music venues have helped shape generations of local and global music culture. The Punters Club became a rite of passage for Australian bands throughout the 1990s, helping launch and nurture artists such as Powderfinger, Spiderbait, Magic Dirt, and You Am I. The Evelyn evolved from a historic Brunswick Street pub into one of the northside’s most important independent bandrooms, hosting everyone from Dirty Three and Hiatus Kaiyote to Muse’s first Australian performance. Meanwhile, The Night Cat transformed Johnston Street into a late-night cultural meeting point, with its iconic 360-degree stage becoming synonymous with jazz, funk, soul, hip-hop and marathon dancefloor sessions, hosting artists including The Cat Empire, The Bamboos, King Gizzard & The Lizard Wizard, Sampa The Great and Amyl & The Sniffers.

As part of the program, HIGH GROUND will present a free public gallery exhibition featuring archival photography and memorabilia celebrating some of Fitzroy’s most iconic cultural moments.

“HIGH GROUND is our love letter to Fitzroy. We want to celebrate the creative and cultural history of this incredibly unique community,” says Nate Farrell, CLBR’s Co-Founder & Managing Director. “I spend 95% of my time between Johnston St and Alexander Parade, and every night already feels like a festival to me, being about to bounce between our venues (aka The Fitzroy Triangle). We wanted to bottle that feeling, that excitement of seeing all these dots connect in these spaces with different crowds and scenes coming together, all with Fitzroy as the backdrop.”

Additional artists, exhibitions and activations will be announced over the coming weeks. Follow High Ground to stay updated.

HIGH GROUND FIRST ANNOUNCE
Bridget Small
College Of Knowledge Presents: Soul Dynamite
Disco Mediterranea
DJ Assault (USA)
DJ Luv You
Eden Burns (NZ)
Horatio Luna
horse
Intermood
Jenevieve (USA)
Lamestream
Love Sensation
MAAJELA
Mark Ernestus & Ndagga Rhythm Force (SEN)
Mildlife
Miles Nautu
Milly Strange
Milo Eastwood
New York & Cortisa Star (USA)
Nice Girl
No News
Orange Moon
People Taking Pictures
Pollen Art Club Presents: Rinse
Protomartyr (USA)
Public Figures
Rain Dogs
Setwun & The Soultranauts
Skeleten
Sleepazoid
Sports (USA)
Steady Weather
Stupid F*ck the Silly Clown
The Gnomes
Tony Armstrong: The Let Down
Violent Magic Orchestra (JPN)
Weaver Pres.
XIAO XIAO
YHWH Nailgun (USA)
HIGH GROUND: IN MOTION 
THREE VENUES, ONE NIGHT. SATURDAY 18 JULY
Skeleten
Sleepazoid
XIAO XIAO
Orange Moon
No News
Rain Dogs
Horatio Luna
DJ LUV YOU
Public Figures
Setwun & The Soulstranauts
Miles Nautu
Bridget Small
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